Pooch says 'Welcome to Toonhound!'TheHound - an irregular round up of toon news and chatter from the uk

  ...cartoon news interviews and views from the UK!  Union Jack


 
 HOME

  THE HOUND
  british toon
  news & chatter
 
  MOVIE TOONS
  animated films
  & shorts

  TV TOONS
  animated series

  TOON MAKERS
  animation studios

  & people

  IT'S A PUPPET!
  string, hand
  & finger puppets

  COMICS
  characters, strips
  & comic books


  TOON GODS
  british animators
  & illustrators


  RESOURCES

  ______________

  Click here for Frankie Stein... Click here for Fungus...
   Click here for Bunty...  Click here for Wallace...

  FLEETWAY ST.
  
  GENTLEMAN
  BRIGGS

  BUNTY'S BOOTY

  CRACKING
  COLLECTIBLES


  _______________

  ABOUT ME
  EMAIL
  DISCLAIMER


 
 
 The Cloppa Files #1


     Cloppa Castle credits   Cloppa Castle logo


    
The Hound hears from Richard Dacre, the Dialogue Co-ordinator
    on two seasons of Cloppa Castle...

 
    Richard Dacre is a film writer, lecturer, historian, archivist, and owner of Flashbacks
    Film Memorabilia Archive and Store in London's Soho. He also happens to be an
    authority on Norman Wisdom and his life on stage, in films and on television and
    has written a Wisdom biography 'Trouble In Store'. Richard's sister Sue is an
    accomplished film and stage puppeteer and in the late seventies when she
    commenced work on 'Cloppa Castle', Richard took on the unique role of Dialogue
    Co-ordinator - choreographing the voices with the puppets on the series. Here he
    reminisces about those days and outlines exactly what the job entailed...

    ______________________________________________________________________

      Richard Dacre was Dialogue Co-ordinator on Cloppa Castle 'Well... I worked on Cloppa Castle - I think the
company was called Transcontinental Films -
March to September 1978. As far as I remember,
this was the first two series, and I had nothing to
do with the third or fourth. The studio was a
converted church in Southwark Park Road (London).
I think when I joined the team they had already
started making the puppets and sets, but I might
be wrong, it's possible we all began at the same
time. I was shunted off to a separate room with
all the scripts and inch tapes containing the
professionally recorded dialogue.
    My first job was to cut out all the guff. Not only the mistakes and the
    unusable takes but also the gaps between dialogue so that everything
    was up to speed. I was pretty well left to my own devices doing this, which,
    as you can imagine, was quite a mammoth job with 24 episodes to work on.
    This was a matter of physically cutting and splicing the tape as and where
    necessary. Once an episode was completed, I handed the reel over to Mary
    and John who then timed it and made script cuts to bring the episode to
    broadcast length.

    My second job was to take these edited scripts and once more cut the
    tapes to their instructions. The difference this time was that all these cuts
    were preserved and labeled, so that they could be restored if necessary.
    Also, I entered detailed timings on the scripts so that I could locate the
    smallest snippet of dialogue in seconds - all very methodical work. By the
    time I finished this, the scheduling was such that the puppets were completed
    and the sets for the first batch of shoots were ready at the same time and we
    were ready to roll the camera.

    Obviously the 24 episodes were treated as a single entity - similar set ups
    were shot sequentially. Not only did this save time, but also allowed the set
    builders to continue working on later locations as the camera rolled. There was
    no dedicated continuity person and the set designers and the puppeteers were
    expected to take care of this themselves - very difficult - though Mary would
    invariably pounce on anything that was amiss.

    During shooting, I was sat to the right of the "stage" and my job was to send
    the sound to the correct puppet. The puppets' mouth movements were triggered
    by sound - thus I had to direct that sound to the correct character using levers.
    Memory and looking at the photo (top) would suggest that a maximum of four
    puppets could speak together in one take. So, the action would be as follows.
    Mary would say "episode 12 scene 2". I would scramble for the right tape and
    locate the scene (the tapes are in that cardboard box under my feet, the scripts
    in the one next to the desk) using headphones. If necessary, the set would be
    dressed and John (Read) would light. Then with puppeteers at the ready, she
    would call action and off we went (she expected us to be ready when she was,
    seldom checked).

    Quite high pressured at the beginning but one soon got used to it. Only once
    was cut dialogue restored - that was pretty hairy. I had to locate the relevant
    strip of tape, splice it into the reel and then play without holding up the
    production.....

    I only have pleasant memories of the whole experience. Great bunch of people
    producing good work. I recall a pretty good wrap party enlivened by a crate
    of champagne courtesy of the Lew Grade Organization...'


    ______________________________________________________________________

      Richard's Cloppa Castle medallion...

   When the 'Cloppa' series wrapped crew
   members were presented with a special
   medallion featuring Osmosis, designed
   by Mary Turner. Here's Richard's prized
   piece, together with Mary's original
   artwork.

   Richard and his sister Sue also supplied
   all of the 'behind the scenes' photos on
   these 'Cloppa' pages, for which The
   Hound is very grateful...

                          
      Pooch again!     

 
          
 
© Mary Turner / John Read  / F2000-2004